Entering, Exiting

He stood with his sister against the wall. He’d come all this way but it hadn’t helped. Now it was dawn, hot and bright. Steam rose up from the asphalt, thick as mist. Once, their father had taken them to a place called the Flume. He couldn’t remember where it was. It was a long hike up a cold trail and they couldn’t see more than twenty or thirty feet in any direction. The sound of water came from all around: rushing, streaming, pouring, dripping, plopping. They walked up through the center of a canyon to a place where a giant rock was supposed to have once rested in between the two opposing walls. One day, their father told them, a storm came that brought so much water down the canyon that the boulder—as big as three school buses end to end—had been washed away. He’d said it with an air of awe, whispered it so that they had to lean in close to him, like he was telling them about the birth of a god. They never found the boulder, their father said. Some people think it broke up into a thousand smaller stones, but I think it fell into a different canyon all together and is waiting for someone to rediscover it. When their father was little, his own father had taken him to the site of the St. Francis Dam disaster. They climbed the walls of the San Francisquito Canyon searching for pieces of concrete left after twelve billion gallons of water broke free and raced to the ocean. Some witnesses described the water as a wall, but while he was climbing through the canyon, it had been impossible to imagine anything so tall, so quick, and so deadly. The air that day had been dry and the landscape baked a deep golden brown. Think of all the stone and brick and mud and straw and wood and pitch and steal and mortar and gypsum and horsehair plaster that have been used in service of the wall. And inside: the lathe, the insulation, the bones, the dust, the dead insects curled into their exoskeleton, the acorns, the artifacts, the newspapers and spoons and shoes and jewelry and toys. The joint compound, the primer, the paint, the pictures, the frames, the photos, the black-light posters, the tapestries, the windows. The doors! Think of all the doors! He’d gone through how many doorways in his life? Fifty doorways each day? A hundred? How many steps? He loved his sister, certainly, that’s why he was here. He had cried for her, worked for her freedom. And yet still they are doomed. He considered each doorway. The men had not even offered his sister or himself a final request. Would he have asked for a cigarette? He’d not smoked in fifteen years. Their hands were behind their backs, pressed into the wall. He longed to hold his sister’s hand. He thought about entering and exiting. His sister’s breathing was calm. Like her, he had declined a blindfold. Whatever came, they’d see it coming.

Light

img_3879I’ve been sitting in the dark, waiting, waiting beneath the window with the cracked pane in the lower left square, flies on the windowsill dead from the cold. Isn’t it funny how you can walk out of a room on a cold morning and then the sun hits the window just a bit and warms the glass and then there are full grown flies just crawling everywhere. Minny says they are hiding in the hollow where the sash weights hang, just waiting for the warm air, but Mr. Capshaw says it’s eggs hatching. Anyway you won’t ever see it because it only happens when there’s no one watching. Mr. Capshaw says that if you look at something, it changes the way that something acts. Isn’t that strange? I thought it was strange as heck. I can’t remember how he said it exactly, I mean his exact words were all scientific. He said that observation affects the observed. Minny shook her head. We sit at that front desk, the one with the broken eye-wash sink with tape over the faucet. She looked at her pencil and it didn’t move and she said to Mr. Capshaw, I just looked at my pencil and it didn’t do anything different. Mr. Capshaw said, How you do you know it didn’t? Minny looked up at him and shook her head. Later, in Mrs. Simmons classroom, she stood over by the globe and spun it around but I didn’t know what she was looking for. I’ve been up in the attic waiting for someone to turn on the lights. There are the boxes from before we moved, still taped shut: Barry’s books, Barry’s clothes, Barry’s knick-knacks. A box of spices. Plates. Towels. Linens. All of the stuff we never opened up. I stared at the flies for a time. I stared out the crack in the window, first I closed my left eye. Then the right. With my left eye, I could see the big tree at the end of the driveway. With my right, I could see the dirt patch where I imagine Barry’s car parked. I almost can’t remember the car now. It had that long sloping back window. I could lay across the back of the seat when we were driving and close my eyes and it was like we was flying. Then when I look with both eyes, I could only see the crack in the glass. Then I started looking at the light. I started thinking that if I looked at it long enough, I could make it turn on. Please, I keep saying in my head, please, please, please.

What You Have Heard

What you have heard is true. He was born in a cone of sunlight, or perhaps it was a streetlamp, his birth beneath the skirt of stars, or perhaps there was no light and the cone of sunlight or lamplight has been invented for the sake of remembering, for the sake of memory. His father was present, either way, that big man with the frayed belt, whether it was daylight or night, brightly lit or dim, and he was carrying a camera, some boxy thing that he held near his waist and studied, chin bent to chest. Or maybe it was his mother we remember, the mother that stood with her camera on the balcony overlooking the runway, the planes buzzing down one after another in a haze of dust on that dry day, leaning into the railing, thinking, maybe this plane, or maybe the next, holding her camera at the ready, a Kodak Instamatic, eye glowing behind the viewfinder. And the light is different when we tell it this way too, perhaps not a bright cone nor a dark night, but something in between, a mist, the sky an undulating gray cloth, a scrim of mercury. Today the truth is not with the mother, today the story is not hers. We’re telling it this way: there is the father and his Hassleblad, there is his father waiting near the terminal in his overcoat, hiding his bulk, tucked into an alcove, waiting for his son to arrive in a cone of light or darkness or rain. Today our truth is this: the father, the camera, the rain, steam rising from the asphalt. Today our truth is light, mostly, and rain, light and rain, here and there, puddles like silver trays dotting the tarmac. The actual story changes. Do you think we do not notice? Do you think we care? We have our last story, our last memory, our last remembrance. There is no other way to say this. We’ve forgotten everything, or do not know what we had, or never had anything to begin with. We can remember our names, certainly, and our children and our jobs and the movies we’ve seen and the loss of our virginity and the fire that took half the city and the bombs and the cold nights that came later and the heat of the fevers that left us shaking, but those stories, those memories, are loose, untied, untethered, unattended, without tendency, ghost-memories barely present, absent the cone of light or the skirt of stars or the mist that drives us to our knees. We have his father. We have his mother. We circle now, waiting for morning, when we begin again.

Impossibilum

they said don’t leave us but who could look where he was looking and not leave, that’s what he asked himself as he was pulling away the brick, the first brick, down on his knees in the basement near the cistern, pulling away the brick and sliding down in the hole, or falling into the hole, stretching thin and just zipping down there, blasting into that dark fire, that dark fire, like an electric flare he’s pulled, zipped or zapped, like a hand reaches up and grabs him and pulls him thin, pulls at that one thread until all of him unravels and he’s just a longer sort of thread, and he’s gone, and who would he understand a thing like that anyway? Who would miss him now that May was gone? He’d go over to the Waterson’s where Frank is surely on the porch watching the finches, old Frank who wouldn’t remember his own name if Dave or Doris or one of the others didn’t say, Now Frank, or Here you go Frank, or How about a grilled cheese? Once, when Billy himself was a child, way back at the beginning of the thread, he’d gone to the Waterson’s to see Dave and there was Frank passed out on his stomach in the middle of the living room floor, ass hanging out for all the world to see, and Dave said, Ignore him, he’s so gross, and he’d never been able to see Frank the same again, even after Frank was on the wagon and sang in the church choir in a red robe. His voice carried through the whole church, a deep and lovely bass, and even though he never could shake the image of Frank lying dead drunk and buck-naked, he was sorry that he was so far gone that he couldn’t join the choir when they sang for May, Amazing Grace, it was nice, sure, but Frank Waterson’s big bass voice clear and sober as a judge ringing out, you couldn’t just replace that, and May would have enjoyed it so, and then he was home, eating tray after tray of casseroles and lasagna and deli-platters and hiding in his room drinking cans of Coors and then hiking down to the overpass and wishing for something awful to happen and then he was down in the basement looking at the old cistern and he saw the bricks move, just one at first, just the one, and the light coming from behind the bricks and it only made sense that something else was happening on the other side of the bricks and the field stones and the soil and the sediment and the layers of shale and granite and iron and all that pressure so far down, it only made sense that he’d see the opening when he was down on his knees, that’s how you found your way he remembered as he reached out, tugged on the brick, that’s the only righteous path, to be on your knees, looking in the right direction, and then he pulled the brick free and he was a long string zipping down into the core, either filling up the world or being filled with the world, he couldn’t tell which, and he was light, a particle, a wave, radio, x-ray, gamma, ultra-violet, transverse, longitudnal, electromagnetic, mechanical, a string, a thread, oh May, oh, he was gone

Found

The night is brisk, our breath freezing in front of us as we walk the meadow path. The dark trees rise up like mountains at the edge of our property. When May was a child, she thought the trees were a wilderness. She could walk forever in there and not see anything. It was only later that she found the road and later still that she crossed over and went down the path on the other side that lead to the industrial park and then over the Veteran’s Park and to 95 where the traffic was constant. It only took fifteen minutes to walk through the woods and come up to Parsons and then only five minutes to walk to the overpass where the cars never stopped. By then, she says, I couldn’t get lost in those woods to save my life and I don’t even think about going in there these days because of the teenagers. Me and her just stay on the meadow path. If I listen, she says, I can hear 95. Now I can hear the helicopter tours all day, too. And then there’s someone always running a lawn-mower or leaf-blower or jackhammer or compressor or a siren wailing nearby. There’s not a stitch of silence. Off to the south, we can see the lights from town. There’s a bridge that has a blinking red light and the radio tower at WERH that has two flashing white lights. Just to the left of the tower is a little house that used to belong to May’s aunt, a feisty little woman who refused to sell her property when they put in the station and the tower and the mini-strip mall that never seems to keep any store longer than a few months. May says that the radio tower made her aunt sick. The last time she saw her, they were taking her out on a stretcher. May’s mother was holding her aunt’s hand. She says she can’t remember any sound from that night. The ambulance lights were flashing, but there was no sound. She says it has something to do with the radio tower, but I don’t know what to say to that.

On reading Lydia Davis’ Almost No Memory #amreading #litchat

 

davisWhat in the world is Lydia Davis up to? If she were up to one thing, the thing she might be up to if she weren’t up to other things, we might know her better, or think we know her better, or not. But if she is up to other things, things of which we are unaware, then we are lost in what we believe. These things: words and not words; space and not space; what comes next and what comes not next; what comes next when we are expecting the first thing, not the second thing, and when the second thing come first; the long stories and the short stories and the stories that are not stories at all but are fiction. The stories that are not stories but are not poems are something, but that something is lost as it comes through first, or maybe second, or maybe not at all. We keep reading, trusting Lydia, or not trusting her, but allowing ourselves to be thrust into this space of not trusting and trusting at the same time. There are the stories that are longer than poems, but lyric, and some of us think of poems while reading the long stories and think of stories while we are reading the short stories which are not really stories but poems. These things: cats in jail and the men who kill them; Lord Royston and the unknown reasons for his travels and all the things that are not said in the travels and all the long and sacred moments and the majesty and the light of the land and the fury of the sea; thinking not thinking; mice; what is story and what is not story and what is the center of stories and what lies on the outskirts of stories and what we believe might be a story, or not, or a poem, or a bit of both, or of neither; a country of people who watch Othello every single night; this condition of being and not being; of our shallowness and our skins and how we are not the people we are, and do not do unto others as we would have them do to us, or we do exactly what we would have done to us, but is not what we thought it might be. What is Lydia Davis doing in these worlds that are not worlds, stories that are not stories, in language that rises and sinks and crests and pulls us along in swift currents when we do not want to be pulled along, but perhaps do, perhaps finding solace in these shifting things?

Stories that I’ll be teaching this fall #teaching #writing #shortstories

booksEach semester I teach a dozen or so stories to my fiction classes. I always keep a few of my favorites, teach them again and again. But I throw a handful of new stories in each semester. It’s a strange struggle to find stories that I love and that I think will resonate with students. Sometimes, what I think will resonate, falls flat. And often, those stories that I think will be a tough sell, really hit home. I’ve been combing through some books looking for the right stuff. Here’s what I’ve come up with:

  1. “Going” by Amy Hempel
  2. “Boys” by Rick Moody
  3. “We Make Mud” by Peter Markus
  4. “A Good Man is Hard to Find” by Flannery O’Connor
  5. “Good for Your Soul” by Tim Gautreaux
  6. “Kansas” by Stephen Dobyns
  7. “North Country” by Roxanne Gay
  8. “What We Talk About When We Talk About Love” by Raymond Carver
  9. “What We Talk About When We Talk About Anne Frank” by Nathan Englander
  10. “Safari” by Jennifer Egan
  11. “The City in the Light of Moths” by Tim Horvath
  12. “Murke’s Collected Silences” by Heinrich Boll
  13. “The Last Speaker of the Language” by Carol Anshaw
  14. “Means of Suppressing Demonstrations” by Shani Boianjiu
  15. “Clear Over Target, the Whole Town in Flames” by Fiona Maazel
  16. “Hot Ice” by Stuart Dybek

New Year/New Writing Project

I know, I know. I’m not finished with the old writing project. The novel is coming along. I hope to be done with a good revised draft in a week or so. But I’m tired of working on the novel and can’t wait to get back to some short stories. I do well with strange self imposed guidelines and deadlines and when I found this little box of month-by-month journals, a project popped into my head. One story per month this year. Each story has to fit into the journal for its month. Here’s a photo of the notebooks and the first page in this months story. Stay tuned for updates.

New Writing Project